Home Cart Listen Calendar Contact
3.jpg

Full Schedule

Performances

Ones and Zeroes Inverted - Thesis Sahib Performance
By James Kirkpatrick
September 23, 2017, 7:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
Thesis Sahib/James Kirkpatrick has been contributing to the underground hip hop movement since the early 90’s. His articulate, rapid-fire delivery, harmonic vocals and imaginative lyrics bounce with the sounds of his hand crafted electronic instruments.

His live music and art performances incorporate a constantly evolving cast of sculpture, kinetic, and auditory elements. Often combining a 2D aesthetic with circuit-bent electronic toys, video synthesizers and compositions written on modified Gameboys.

Ones and zeros fold and invert to create deep, thick, sharp squares and triangles. It gets loud and you can move to these sounds.

Tickets here:
https://naisa.ca/purchase-tickets/

Here is a video to get a sense of what he does: https://www.youtube.com/watch?v=yXzBfmSDFsU&t=2s.
To download some music from Thesis Sahib go to http://www.jameskirkpatrick.org/thesissahibbeforetheend
Poetry in Sound & Image – Hyperboreal and Myriam Boucher
October 14, 2017, 7:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
A sense of the poetic can be appreciated in many forms, including sound and image. In this presentation we begin with a screening of two videomusic works by Québec video/sound artist Myriam Boucher. Her poetic use of audio-visual abstraction is gaining lots of recent international attention. Following the screening will be a performance by the North Bay duo Hyperboreal comprised of Dermot Wilson and Jason Brock. Although their performance uses spoken word the poetic dimension carries over into their ambient treatment of light and electronic sounds.

Tickets:
https://naisa.ca/purchase-tickets/

Program:
I. Storm by Myriam Boucher & Pierre-Luc Lecours
STORM is an audiovisual work exploring sound and image interactions in different scenes similar to moving paintings. The work is inspired by the natural storm behaviors translated into an audio-visual language that is both abstract, expressive and poetic. This work is a collaboration between Myriam Boucher for the visual and Pierre-Luc Lecours for music.
II. Nuées by Myriam Boucher
Nuées is a videomusic work that arose from the idea of flapping wings. The recordings were made with the baritone saxophonist Ida Toninato in an immense desertic and reverberant space at night. The birds were recorded mid-flight.
III. Live performance by Hyperboreal
Hyperboreal is a sound collective combining ambient music, spoken word, noises and video projections to create multi-sensory meditations upon place, purpose and temporal resonance. The light and sound patterns create psychic spaces meant to enhance the feelings, emotions and poetic themes that we explore. Jason creates many layers of sounds including drones, harp-like patterns, bass patterns and synthesized washes. He also uses a drone camera to create visual loops from nature. Dermot also creates layers of sound; triggering and "looping" these using a Yamaha WX-11 wind controller routed through several computer software programs. His sounds comprise much of the brass and woodwind based tonalities, as well as the ambient washes. Within these electronic, and oftentimes musical, soundscapes Dermot also adds spoken word segments that are often "acted" and occasionally "sung". He also shoots video for Hyperboreal performances and edits these as a visual layer to be added to the aural layers created by the collective.
imagineNATIVE 2017: Receptors
October 20, 2017, 3:45 pm
TIFF Bell Lightbox, Cinema 2, 350 King Street West, Toronto
General $6, Students FREE
NAISA is proud to be a presenting partner for the screening program Receptors at the 2017 edition of the ImagineNATIVE Festival. The program includes films made by or with contributions from artists that have been presented by NAISA in the past such as Casey Koyczan and Caroline Monnet.

Tickets here: http://www.imaginenative.org/2017-in18-buy-tickets/

Program:
I. Tsanizid by Beric Manywounds
Tsanizid is a short dance film about a Two Spirit transformation journey by Tsuut’ina Dene Director/Performer/Storyteller Beric Manywounds.
II. Thirza Cuthand Is an Indian within the Meaning of the Indian Act by Thirza Jean Cuthand
A Light Skinned Cree woman, Cuthand contemplates her interactions with racism, and the threat of rejection from other Indigenous people.
III. Ndns on the Airwaves by Jackson 2Bears
NDNs on the Airwaves follows one Indigenous broadcasters journey back home through the airwaves where she finds her own voice and that of her people are doing more than just playing songs and sharing announcements. This documentary is shot in a video mash-up style with a dynamic soundtrack using poetry, soundscapes and voice to make a new genre of documentary storytelling.
IV. ÔTÊNAW by Conor McNally
ôtênaw is a film documenting the oral storytelling of dwayne donald, an educator from edmonton alberta, canada. drawing from nêhiyawak philosophies, he speaks about the multilayered histories of indigneous peoples' presence both within and around amiskwacîwâskahikan, or what has come to be known as the city of edmonton.
V. Uktena and Thunder by Joseph Erb
Long ago, two boys feed a small starving snake. It grows up to a large Uktena that fights Thunder.
VI. A Prayer for the Lost by Natasha Francis
A spirit of a young woman and a Spirit of child speaking from the spirit world about their demise. Their confused and want nothing more than to be with their families again.
VII. In Moment by Samay Arcentales Cajas
"In Moment" is an experimental narrative exploring a juncture in a time where people from different histories and walks of life receive a message from the Four Directions to come together as one. Through unity they are to overcome injustice, violence, and bring peace and well being across these lands.
VIII. North of South / Norte del Sur by Alejandro Valbuena, Casey Koyczan & Francisco Huichaqueo
North of South is the visual and sonic reflections of a group of Indigenous artists coming together from Chile, Northwest Territories, Six Nations, Mexico and Colombia to blend their creative perspectives as they initiate and forge a relationship with South American territories of Palomino Colombia during a three-week collaborative exchange titled Territ(aur)ial Imprints during May and June 2017.
IX. Creatura DADA by Caroline Monnet
Six powerful native women gather up to celebrate a new beginning and the end of the world as we know it.
Imagined Movement
By Natasha Barrett
October 28, 2017, 7:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
Natasha Barrett, visiting NAISA from Norway, presents a performance of her recent works. Barrett has won numerous international prizes for her compelling and evocative works and also for her highly naunced approach to 3-D spatial design using Ambisonics.

NAISA is grateful for the assistance of the Akousma festival in Montreal and the Office for Contemporary Arts of Norway in making this presentation possible.

Tickets here: https://naisa.ca/purchase-tickets/

Program:
I. He Slowly Fell and Transformed into the Terrain by Natasha Barrett
The metal horses had lost their colour. The leaves dry, the stones worn, the ice froze, then waned. He slowly fell, and transformed into the terrain.

This composition - a fiction - takes the listener on a journey in the mind of a character born to explore the harmony between human constructions and nature. As constructions begin to take over, he needs to find a new balance. He slowly falls from the enjoyment of a fairground carrousel and the allure of the natural terrain overwhelms his being. The new balance gradually embodies a landscape of dry leaves and lost children, worn stones, melting snow, and a final release into abstraction.

He slowly fell, and transformed into the terrain is in two sections: a main journey and a final coda.

The work has been composed in 6th order 3-D higher order ambisonics (49-channel encoded source, which can be decoded to play over most loudspeaker arrays in either pure ambisonics or as a hybrid multi-channel format).

Commissioned by Electric Audio Unit (EAU) with funds from the Norwegian Cultural Council.
II. Involuntary Expression by Natasha Barrett
“Involuntary Expression” explores music that emerges from the micro-movements of hundreds of subjects. Micro-movements are the body's small movements that we ourselves may feel, but for a viewer are undetectable. These movements are present in all we do, and can feel significant even though invisible. Likewise, when we watch a musician, we see the larger movements and how they connect to the sound we hear, yet the micro-movements, vital in the control of the sound, are known only to the musician herself.

In the acousmatic aesthetic there is nothing to see. In “Involuntary Expression” the music of the invisible is made audible in the acousmatic context. Using high resolution spatial-synthesis the details are revealed in a polyphonic space of precise points, dynamic movement and sonorous envelopment. I would like the listener to feel the music through the sound's behaviour in space, feel the involuntary movement from the inside and the expression that then unfolds.

In “Involuntary Expression” micro-movements from three sources - crowds, a cellist and a drummer - are captured by a high-speed and high spatial-resolution 3D motion capture camera system. The motion recordings result in extensive datasets documenting precise 3D space and time. I then used this data in custom designed sound synthesis, sound manipulation, sonification and spatialisation processes, controlling sound and musical structures on all levels of the composition, and magnifying movements to fill the expanse of space and timbre.

The work was commissioned by Notam, with support from the Norwegian Cultural Council.

Special thanks to The Department of Musicology, University of Oslo, for data from the Norwegian Championship of Standstill, and for access to the high-speed motion capture camera system used in this project.
III. Microclimates III-V by Natasha Barrett
Microclimates III-V are three parts from a four-part set of miniatures. Each Microclimate attempts to capture my experience from unique locations in Western Norway during 20th-27th April 2007.

Microclimate III: Glacial Loop - On my first attempt to record sound at Briksdalsbreen glacier the wind was so strong that it forced rain horizontally into my face and body. For brief milliseconds I could open my eyes to glimpse a blue, ice monolith through the turmoil. On my second attempt some days later, the scene was completely different. Although grey and drizzling, there was not a breath of wind. An enormous icy wall of blue twists and gashes suspended vertically an unknown distance away across a glacial melt lake. After rowing out toward the ice I ceremony descended two hydrophones into the water. My guide rowed so close to the face of the glacier that as my microphones recorded its electrical sparking, sucking, squeaking, whistling, burning and clicking sounds, I could at the same time run my hands over the smooth curves of its close-up form. Slowly and gracefully the boat glided away from the face and returned to the opposite shore.

Microclimate IV: Wet Face - Wet Face is composed from the sound of marsh birds, dripping water, squelching mud, tearing moss and rotten tree-wood in the Sandane area. By recording with close microphones and hydrophones, sounds that for our normal ears are a gentle pitter-patter are transformed into a bombardment. The rhythmic performance of incessant dripping had begun when I arrived. Its millisecond timing was 'computer' perfect. I expect it will be the same year after year. Maybe the rhythm will change as the rock is eroded.

Microclimate V: Water Fall - For Water Fall I threw two hydrophones off a bridge into the white rapids of Holvik Fossen (Gloppen), while four more microphones capture the air-born soundscape. Turbulence and eddies dragged the hydrophones through local current systems, tossed them suddenly into the air or further down stream, smacked them into opposite eddies or plunged them into imploding air cavities.
IV. Hidden Values: Optical Tubes by Natasha Barrett
Hidden Values explores through drama and metaphor, three ancient and seemingly minor inventions that have shaped our societies and affect our everyday in a multitude of ways: the umbrella, sight correction and the lock. In this concert I play the second movement of Hidden Values: Optical Tubes. Optical Tubes, apparently invented by Descartes, were glass tubes that touched the eyeball like contact lenses. In our modern world we can choose to see the world in focus or through a soft haze; we can be aware of events and their details, allow information to fall to the periphery of a soft bloom, or choose to be oblivious to that which does not please us.

Installations

The Sound Mods of James Kirkpatrick
By James Kirkpatrick
September 22, 2017 to November 26, 2017
10:00 to 16:00 Thurs, Sat, Sun; 10:00 to 19:30 Fri
NAISA North Media Arts Centre
FREE
This exhibition of work by graffiti, hip hop and multi-media artist James Kirkpatrick from London, Ontario features his interactive sound sculptures. Mila Petkovic in Metro wrote “Kirkpatrick’s bright and highly detailed work takes its inspiration from science fiction, cartoons and the secret worlds of video games.” Kirkpatrick's sound sculptures are created by circuit-bending, or re-purposing, consumer electronics toys as well as by transforming their visual appearance with his playful and colourful style. These sculptures invite group play and collaboration to create beats, melodies and scratchy textures out of discarded electronic toys.

Featured in the show are his Brain sound sculptures, a piece called “None Hop Blue”, a new variation on his sound towers and a collection of circuit bent electronics to jam with as well. Also, don't miss opening night artist talk and demonstration by James Kirkpatrick on September 22 as well as his September 23 circuit-bending and vocals hip hop performance under the moniker Thesis Sahib.